Live Review

Glassheads – The Cabin, Liverpool

• 22nd Feb 2011

As usual, bands over run in the sound checking, but by 90 mins, someone was taking the mick. It meant the lads missed out on theirs which they were slightly peeved by, but they didn’t let that deter them. “We’ll just f***in’ play. It’s not Wembley Stadium” said Andy Seddon, bass. “Yes it is, just shut your eyes” replied the other Andy, McKay, guitar. The other bands were too fussy and time consuming, hence Mr Seddon’s slightly drunk wails of “Just f***in’ play” and other expletives, said with some humour but also slight annoyance by the disrespect shown. We were worried about his level of alcohol intake, confirmed half hour later by his Bez-like dance routine to the northern Soul played by the DJ before they were due on. They gave me a set list and the song titles were impressive enough before they even played a note. The dress sense resembled mid-90’s Oasis: chequered Ben Sherman’s and navy jeans, hair like mods (except the skinhead singer Ian McCluskey).

Man In The Street was a raw yet melodic foot stomper that got everyone’s attention and moving to the front. Immediately we were all hooked and knew this would be a good set. All My Cares was led by a riff that could have been taken from The Rapture. It was obvious they didn’t need the sound check. It didn’t matter after all, just would have been nice to give them piece of mind. Que Sera was a slightly slower balladry number but still struck a chord with us all. A slightly anthemic and prominently memorable song, the clean and catchy Fender Strat and Tele combining well together, playing in unison. Don’t Worry, another stomper, followed this time lead by the pounding catchy bass line. Yet again this got the crowd going, as did Robotic Phase, featuring fast drums; a song about working class frustration and anger. They did the obligatory cover, Boys Don’t Cry of The Cure, a heavier but slower version of the original. They certainly put their own approach to this making it sound like Glasshead’s own version of it rather than just going through the motions. Then they saved the best until last, the single The Error Of Your Ways, which no doubt got the loudest cheer of the night.

McKay’s funkadelic inspired guitaring shone throughout, but the whole band definitely played their part, and well. McCluskey sang with real passion in that direct effective powerful northern no-nonsense manner. Seddon’s bass was pounding throughout yet still contributing to the melodies of each number, whilst the drummer, Jon Davenport, displayed different tempos but ensured each songs tempo was just right. All this showered with slight psychedelia in parts. They look like a gang of close mates, the type you see in the boozer, who want to be in a band but could quite easily just rehearse in their dad’s garages, but they put a force behind their sound that makes them stand out, and that force is passion and determination. I was told they are very popular in the ‘new band’ category in Seattle, Vancouver and Sydney, which can only inspire their confidence. They will be very popular here at this rate.